Art and music go hand in hand as Parker creates a painting ona clean white canvas. As finely detailed as his paintings are when complete, they start off very loosely and almost abstract. The large scale canvasses are first painted, all over, using house painting brushes. To match this stage in the painting process and the exuberant energy of the artist, Parker applies colour in broad intermingling brush strokes while the music of choice is jazz or rock ’n roll.
As subsequent layers of paint are added and the brush strokes become more deliberate and shorter, the accompanying music become smore contemplative and yet still fused with energy. Jessie Cooke’s guitar music with its heavy percussion is one example of what works well at this stage.
With each layer of paint a new aspect of the landscape is revealed. Slowly the undulations of the land start to appear. Other layers suggest areas of light and shadow, and the overall structure of the
image becomes set over time. As the subtleties of the work become more important and Parker ’s focus becomes more intense the music of Bach or Mozart creates an atmosphere to enhance this creative stage.
Only when the painting is developed over all to a level of 85 to 90 per cent does the coordination of every element in the painting begin. Each brush stroke, line, space and touch of colour has to be considered in relationship to each other and the painting as a whole.
The spiritual overtones of Gregorian or Buddhist Chants work nicely at this very contemplative stage. During the painting process Parker works on an intuitive level with the image. At times he allows the accidentals of brush work to guide the process and at others he listens to what the painting needs to bring it to conclusion. The best work is never forced. It is simple, visited by grace and reflects the interaction between the artist and the work itself.
